The following article appeared in the April 1854 issue of "The
Photographic and Fine Art Journal" Vol. 7, No. 4 (April 1854) pg. 111:
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EXPRESSION.
Rochester, Feb. 14th, 1854
FRIEND SNELLING,--In compliance with your request, made during my
late visit to your city, I have been induced to send these few lines
for your valuable Journal. There are two things I regret exceedingly:
one is, that, as a daguerreotypist, I have done so little for its
columns; the other, my inability to write desirable and practical
matter. There are many, no doubt, who feel on this subject like
myself; but should we all withhold our mites, one object in its
publication would be defeated. I have thought that a few general
directions for obtaining the natural expression in our portraits would
not be out of place in this communication, and will proceed:--Taking it
for granted that you have a complete suite of rooms for your business,
and some competent person to attend the reception room (I prefer a
lady), where all the preliminary business of selecting cases, arranging
prices, should be transacted, we will (supposing you have sitters)
precede them to the operator's room, where you prepare the plate; here
you should be at home, not only with your subjects, but with your
light, chemicals, and all pertaining to a speedy accomplishment of your
task. After the sitters are announced, the important first impression
is to be made (not on the plate), but on the mind. Be careful that it
be a favorable one for yourself; you might as well close your rooms at
once, if you are a bashful man, or have not command of your temper; a
failure here decides your success as a daguerreotypist. Meet your
subject as you would an acquaintance, openly, frankly, but not too
familiarly; show them to the operator's chair; talk of the weather,
latest news, of picture taking or any pleasing subject; at the same
time, make such observations on dress, general expression of
countenance and eyes as will be guide for obtaining the best result,
the first trial. Should the sitters be bashful or diffident, induce
them to talk; if notional or obstinate, laugh them out of it good
naturedly; humor them if cross, and flatter them if absolutely
necessary to bring out a good expression; but show them, in all, that
you have command of your temper, a thorough knowledge of your business
and their wants. Should the subject take an easy, natural position in
the chair, let it be retained; adjust head-rest to this position, and
direct the eyes in the proper direction, by placing a flower or picture
for the eye to rest upon; then, by asking some question that will
induce a reply, watch the moment when the muscles are relaxed and the
countenance expressive, to remove the cap, and the result is (if your
impression is made, as it should be, in five or ten seconds) a life-
like and pleasing expression, without which, be your chemical effects
ever so good, your picture is worthless.
I deem these remarks, at this advanced stage of the art, of more
importance than anything I could say pertaining to chemicals or
manipulation of plates, so familiar to every operator. Should you
desire it, I will give my process for daguerreotyping children, with
whom I am very successful.*
E. T. WHITNEY.
Our young artists, at least, will undoubtedly thank you for it, as much
as ourselves.--Ed.
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Posted for your enjoyment. Gary W. Ewer
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04-29-98